I've always seen it as the role of an artist to drag his inside out, give the audience all you've got. Writers, actors, singers, all good artists do the same. It isn't supposed to be easy.
That's the holy grail as a TV writer, to work on a story that you care about and to put it out there and for it to find the audience and connect with fans and connect with critics.
When you do a really good play, the audience and the performers are looking into the same looking glass, the same microscope. And the specimen they are looking at is human life and that's why I do it, that's why I like it.
I don't know how to do the other, so I won't even consider television until the audience's taste changes.
Seven out of my nine films were hits. 80 per cent of the audience loves my films; the remaining 20 per may be right in their opinion, but that doesn't make me wrong. If I try too hard to woo them, I'd be cheating my core audience.
In Korea, when I started, there wasn't a trend where people chose to be both actors and singers. I was the first to do both. It was a great deal hard work, but I got a lot of support and love from my audience. And for me to receive the same treatment overseas, I felt that I was also very lucky.
When you play arenas you can create whatever you want. At a theater the height of the stage and the limitations of the theater can make you feel more separate from the audience.
The dumber half of the audience - whether they're male or female, and a lot of them are male - for some reason responds very quickly to the feminine voice. How can I put it? They kind of instantly react to the female voice in a positive way quicker than they would the male voice.
The odd thing about comedy is that the more personal you are, the larger the audience.
I want my movies to be audience experiences. As much as I like Michael Haneke, I'm not going to make a Haneke film. That's just not in my DNA.
I love making movies, but there's nothing like being in front of an audience.
You try to find things that are challenging and interesting and hopefully it will be the same to the audience.
I love the immediacy of an audience being there and reacting. I'm spoiled, having grown up in theater.
The greatest benefit of being a solo performer is that it is seriously frightening, but at the same time very empowering. It's just you and the audience. All the weight is on you to deliver the songs.
Having done film, TV and theatre, the nicest final bit of the jigsaw is to do live comedy, because you can talk to the audience. It feels really natural to be able to laugh with them, but at the same time still be within the framework of a play.
The hardest part about improv is getting the audience to relax and enjoy themselves, because most improv is not very good, and the audience is nervous for the performers the whole time. Not that they don't even like the show, but they feel bad for the performers.
If we just stick to one kind of music, our creativity is limited. We wanted to extend the audience for the cello, especially the younger people, and to show them how cool and how powerful and how diverse the cello can be.
I don't think the audience always listens to the critics. That's been proven time and time again.
I liked Norman Lear's ideology that you could trust an audience to stay with you.
There's no reason music should be difficult for an audience to understand.
As a member of the audience I don't like it that I can't see what's going on in the eyes and in the face and in the most subtle responses of a performer when I'm more than a few rows back. I find it very frustrating.
When the band first started, it was so much about carving out some space for myself and our audience and our songs.
Everything's changed. The technology is the big thing changing now, the way movies like 'Alice' or 'Avatar' are made. And technology on the other side, the audience side. Word spreads so fast now on a movie, with the Internet, and piracy is something coming down the line like in the music industry.
I never go into a scene - ever, ever, ever - thinking, I have to make myself more empathetic toward the audience. Once you start doing that, you get into really dangerous territory. I think you start to become kind of untrue to the character.
We're more familiar with what economists call an English auction - prices start low and rise as people bid. However, there is also the Dutch auction, where prices start high and go lower until somebody bites. Movies are sold to the audience via a very slow Dutch auction, where each phase between price drops can last weeks or months.
The game is if the orchestra can hear each other, they play better. If they play better and there's a tangible feeling between the orchestra and the audience, if they feel each other, the audience responds and the orchestra feels it.
I feel the first award any artist can have is his audience.
We give you this story. It is for the audience to be moved and gut wrenched, not us. It isn't as if we don't go through those real feeling and it isn't as if I don't cry three or four times a night. I usually do.
If the audience knew what they wanted then they wouldn't be the audience, they would be the artist.
TV isn't a wide medium when it comes to boldness on the small screen because of the audience. It reaches out to the audience but keeping the traditions intact.
Theater is an engagement between the actor and the audience. Film is a different sort of medium. It's not immediate, but in some ways it's more involving.
You can never judge any music by their audience. That's the main reason people in England have a prejudice against someone like Skrillex. You judge people by their music. That's always been first and foremost.
We seek to craft characters who inspire empathy: characters our audience will care for and, as a result, will care about what happens to them and thus will share the journey we have charted. A story, after all, is the character's journey.
I think that artists, at a certain point, can either become defiant and say that the audience is wrong, readers don't get them, and they're going to keep doing it their own way, or they can listen to the criticism - and not necessarily blindly follow the audience's requests and advice.
A lot of YouTubers, because they have such pride in what they do, have a negative connotation towards television. I don't feel that way. I feel like it's another medium to reach a broader audience.
All the audience cares about is what you put up on the screen.
